What free mp3 download program can i use for my mac?

by Ayurvedic-Medicine

What free program can i use to download mp3 files onto my macbook pro to be transferred to my ipod touch? I want something that is reliable and that doesn’t come with any adware or spyware and viruses or something that is policed.

Answer by Soccer Ledgend
iTunes

Answer by Prof.M
If you want to download free music, you can use this trick. There is no need for a software!
Just go to Google and type this in the search box:

-inurl:htm -inurl:html intitle:”index of” mp3 “…”
(instead of ‘…’ type the name of the album or artist or the song name)

There you are! Now you can download the songs from ftp for free!

No need for thanking!

Answer by Don
u can download ancient/latest hindi movie mp3 songs free from http://donrulz.folderland.com u can also question for ur songs there in the comments

What do you reckon? Answer below!

17 ysesongs: the original music of YSE (free CD)


Image by fernandoprats [@ "misión argentina"]
YSE cumple cuatro (4) aniversarios y lo festeja en su lanzamiento #17, mess-up mess-age issue, con un CD de temas originales compuestos y ejecutados para la ocasión por Nevus Project/Albert Jordà -gratuito, por supuesto-. Cada track del CD fue hecho en función de la temática de cada uno de los números de Y SIN EMBARGO.

# # #

YSE celebrates its 4th anniversary with the release of YSE magazine #17 and also gives you a CD with YSE original music. Free, of(f) course). The whole CD was made, track by track, according to each issue of Y SIN EMBARGO.

Download FULL CD (166 Mb)
Download PDF take in (9.6 mB)
Front take in JPG (2.1 Mb)
Stream (320 Kbps)

Música escrita por Albert Jordà excepto #10, Gymnopédies, nº 1, música original Eric Satie.
Letras escritas por Albert Jordà excepto #10, Son Corps Leger, de Gherasim Luca.

Albert Jordà: Sintetizadores, guitarras, bajo, voces, theremin, beats, soundscapes, efectos, ukulele, armónica, percusión.
Benn Lawrence: Bajo en #12.
Juan Moreno: Beats en #14.
Luminita Jiorica "Lumi": Voz en #15.
Julia Medina: Flauta en #17.
UBU WEB: Samplers en #06 y #10.
Freshwidow.com: Sampler en #16
Soundscapes #07, #08, #11, #12, #15, grabados por Albert Jordà.

Producido y arreglado por Nevus Project.
Grabado en Nevus Lab H.S., Tarragona y Reus (Spain), desde septiembre de 2004 a septiembre 2008.
Mezclado & masterizado en Nevus Lab H.S. Reus, septiembre de 2008.

Nevus Project
www.myspace.com/nevuslab

Albert Jordà
www.myspace.com/albertjorda

Fotografías: Fernando Prats
www.fernandoprats.com

Dirección de arte y diseño: Estudi Prats
estudiprats.com

Acerca de este CD, por Albert Jordà:
01.
El tema original consistía en un loop interminable cada vez que el lector de YSE entraba a la web. Basándonos en este loop como base rítmica, ahora la pieza transcurre sobre una capa más terrenal, utilizando sonidos armónicos más crudos y analógicos para que fuera menos monótona.

*1.The original theme consisted on an interminable loop each time an YSE reader entered the web. Basing us on this loop as rhythmical base, now the piece goes by over a more earthly layer, by a more raw and analogue harmonic sounds, to make it less monotonous.

02.
Y sin restriction conserva la melodía como frase principal, apoyado esta vez sobre un riff completamente nuevo. La pieza se divide en tres partes: la primera y la última nos llevan a un lugar no definido, con una modulación tensa y variable y la segunda parte digamos que corresponde a la parte original, el estribillo.

*2. Though, it keeps melody as the main period, based this time on a completely new riff. The piece is on terrible terms in three parts: the first one and the last one lead us to an undefined house, with a tense and variable modulation and the second part, let's say it belongs to the original theme, the chorus.

03.
Como dice el título de la canción el riff principal desarrollado al unísono por un bajo eléctrico y otro de sintetizador están copiados y pegados, cosidos a un nueva base rítmica, envueltos en una capa sintética "on the run" para elevarlos del suelo.

* 3. As the song title says, the main riff developed in unison by an electric bass and another one of a synthesizer are copied and pasted, sewed to a new rhythmic base, wrapped 'on the run' on a synthetic layer to raise them from the floor.

04.
Primero de los temas "-trance", con connotaciones tecno envueltas en frases extraídas de anuncios de teletienda y de algún que otro programa de telebasura. Un pieza que a priori no nos lleva a ninguna parte pero que al final nos deja alguna que otra mora-leja.

*4. First of the 'trance' tracks, with techno connotations wrapped in rhythmical phrases extracted from teleshop commercials and some other teletrash program. A piece which, a priori, doesn't take us anywhere, but leaves us some or other moral in the end.

05.
De Hannoversal a Harmonirsal. Una canción suave siguiendo un patrón de blues cointerpretada por una armónica filtrada por pedales y efectos y un piano de largo sustain.

*5. From Hannoversal to Harmonirsal. A soft song following a blues pattern, co-performed by a harmonica, filtered by effects and pedals, and a long sustained piano.

06.
Podemos estar cómodos y sonreír en un entorno confortable como éste. Al igual que la primera canción, conserva el loop original aunque la melodía se ha visto reforzada por más sintes y guitarras eléctricas. Contiene sampler de "Zzzzz" de Ron Padgett, del LP Sugar, Alcohol. & Meat, Giorno Poetry Systems Institute GPS-018-019, 1980. Agradecimientos a UbuWeb.

*6. We can feel comfortable and smile in such a cosy environment as this one. Like the first song, it keeps the original loop, although the melody has been forced by more electric guitars and synthesis. It contains a Ron Padgett 'Zzzzz' sampler, from the Sugar LP, Alcohol & Meat, Giorno Poetry Systems Institute GPS-018-019, 1980. Special thanks to UbuWeb.

07.
El único tema del disco en que todos los ingredientes son acústicos. Nos introducimos en un mercado de una ciudad cualquiera, escuchamos de fondo el tema original y luego como si allí mismo pasara, encontramos guitarristas y percusionistas. Jota de vacindade es un guiño a Chega de Saudade.

*7. The only track from the record in which all the ingredients are acoustic. We got into a promote from an ordinary city, listened to original theme as background and then, as it was happening right there, we found guitarists and percussionists. Jota de vacindade is a wink to Chega de Saudade.

08.
El desorden sonoro agrupado y repartido en fragmentos cortos que entran y salen sobre una base rítmicamente monótona pero que la lleva en brazos. Los sonidos están captados en distintos establecimientos comerciales.

*8. Signal disorder grouped and scattered in small fragments coming in and out over a rhythmically monotonous base which carries them in her arms. Sounds are captured on different commercial establishments.

09.
Un leitmotiv musical llevado acabo por un piano y acompañado por una guitarra y un vocoder. Aunque se repite constantemente, se supone que no cansa al oyente.

* 9. A musical leitmotiv carried out by a piano accompanied by a guitar and a vocoder. Even if it's constantly repeated, it's supposed not to tire the listener out.

10.
Esta pieza se compone de tres partes: (la primera) el poema Ghérasim Luca, (la segunda) la versión para guitarra de Erik Satie Gymnopedie Nº 1 y (la tercera) el theremin, que une a las dos anteriores. Las vidas del poeta rumano Ghérasim Luca y de Satie parecían estar predestinadas. De ahí la unión en este tema. Contiene sampler de Erik Satie – Gymnopedie_No1 (Pièces pour Guitare, Played by Pierre Laniau EMI, 1982) / Ghérasim Luca – Son Corps Leger (Ghérasim Luca, 1913 – 1994. La Fin Du Monde, 1969, In Parallpomenes, Paris). Agradecimientos a UbuWeb.

*10. This piece consists of three parts: (the first one) the poem Ghérasim Luca (the second one) the guitar version of Erik Satie Gymnopedie Nº1 and (the third one) the theremin, which links the previous two. Ghérasim Luca and Satie's lives seemed to be predestined. Hence the union on this track. It contains Erik Satie – Gymnopedie_No1 (Pièces pour Guitare, Played by Pierre Laniau EMI, 1982) / Ghérasim Luca – Son Corps Leger (Ghérasim Luca, 1913 – 1994. La Fin Du Monde, 1969, In Parallpomenes, Paris) samplers. Special thanks to UbuWeb.

11.
Escrita originalmente en 1996, reescrita para la ocasión en 2007 y regrabada ahora. Describe el momento en que cuando mejor estamos, desearíamos congelar el tiempo y que nunca finalizase.

*11. Originally written on 1996, re-written for the occasion on 2007 and re-recorded now. It describes the moment in which we feel at our best, wishing to freeze time and make it last forever.

12.
Sencilla melodía de suave ejecución que contrasta con algún que otro ruido de la calle -pero que al fin y al cabo habitan dentro del mismo hábitat-. La casa abierta a la calle, la calle abierta al hogar. Un feedback en el cual nos hemos acostumbrado a convivir.
Benn Lawrence: bajo.

*12. Simple melody of soft routine contrasting with some street noise –but which, in the end, inhabit the same habitat- The house opened to the street, the street opened to our homes. A feedback in which we've got used to live in.
Bass: Ben Lawrence.

13.
Segundo de los temas "-trance". En este caso, con un guiño a J.S. Bach pero transformándolo en una continua y pesada repetición capaz de odiar la construcción musical como si de música máquina se tratase.

*13. Second of the 'trance' tracks. In this case, charitable a wink to J.S. Bach but transforming it on a continuous and heavy repetition, able to despise musical construction as if it was machine music.

14.
Acumulación. Bytes, beats, números y todo tipo de datos manipulados en tiempo real. El tema cabalga en un elegante riff de bajo sintetizado.
Juan Moreno: beats.

*14. Growth. Bytes, beats, facts and all sort of real time manipulated data. The theme rides on a like synthesized bass riff.
Beats: Juan Moreno.

15.
Voces entrando y saliendo en distintos idiomas. Una va contando del uno al quince en castellano y rumano. Esta voz aparece puntualmente cada ocho compases.
Luminita Jiorica "Lumi": voz

*15. Voices coming in and out in different languages. One counts from one to fifteen in Spanish and Rumanian. This voice punctually appears each eight compasses.
Voice: Luminita Jiorica 'Lumi'

16.
Canción un tanto shoegazing, cargada de espesas capas de guitarra y teclados envolventes, asciende a medida que va avanzando. Un crescendo cada vez más ruidoso e impenetrable. El tema es introducido por el propio Marcel Duchamp. Se agradece.

*16. A bit shoe-staring song, loaded of thick guitar layers and surrounding keyboards, ascends while m forwards. A more and more noisier and impenetrable crescendo. The theme is introduced by Marcel Duchamp himself. We are grateful.

17.
Para esta entrega de Y SIN EMBARGO, hemos vuelto a la calma. Bueno, a la calma tensa. Música repetitiva, minimalista llevada a cabo por una flauta y acompañada -como no podía ser menos-por molestos sonidos contemporáneos luchando para llevarse la mejor posición en panorámica y profundidad.
Julia Medina: flauta.

*17. For this Y SIN EMBARGO issue, we've calmed ourselves down. Well, with a tense cool. Repetitive minimalistic music, carried out by a flute accompanied –couldn't be less- by disturbing contemporary sounds fighting to take the best position in perspective and depth.
Flute: Julia Medina.

Does anyone know any excellent free music sharing programs that aren’t Gruntella based any help would be appreciated

Answer by buff007_1998
try rocket

Answer by ccthulu1
try azureus, available here:

http://azureus.sourceforge.net/

it is a fantastic system for downloading, rarely has problems, and simple to manipulete trough.

after downloading it, here is a fantastic site that automatically searches through hundreds of torrent sites to find the files you want:

http://www.torrent-finder.com/

excellent luck!

Know better? Leave your own answer in the comments!
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